Portrait of a Perfumer - Constantin Mikhailovich “Kot” Weriguine

 Constantin Mikhailovich “Kot” Weriguine (1899–1982) was a distinguished Franco-Russian perfumer, best remembered for his contributions to Chanel and Bourjois. Born into an aristocratic family in Saint Petersburg, he was the son of a Russian hussar officer—a cavalryman belonging to an elite regiment known for its bold and highly skilled riders. His early education took place in the Crimean city of Yalta, a cultural and intellectual hub of the Russian elite, but his life was soon shaped by the political upheaval of World War I and the Russian Revolution.

As a young man, Weriguine followed in his father's military footsteps, joining the Horse Artillery of the Imperial Guard, an esteemed unit that provided highly mobile firepower in battle. During the Russian Civil War, he witnessed firsthand the collapse of the Russian Empire as the Bolsheviks seized power, forcing many members of the nobility, including himself, to flee. In the aftermath of the revolution, he escaped to Constantinople (modern-day Istanbul, Turkey), which had become a refuge for thousands of displaced Russians. From there, he made his way to Pančevo, a small town in what was then the Kingdom of Serbs, Croats, and Slovenes (modern-day Serbia), before ultimately securing a visa to France, where he would build his career in the world of perfumery.

Once in France, Constantin "Kot" Weriguine pursued a formal education in chemistry at Lille Catholic University, equipping himself with the scientific foundation that would later shape his approach to perfumery. His technical knowledge, combined with a keen artistic sensibility, allowed him to transition seamlessly into the world of fragrance creation. His first significant step in the industry came when he secured an internship at Parfums de Luzy, a respected fragrance house known for its high-quality perfumes and cosmetics. Here, he trained under Claude Fraysse, an esteemed perfumer whose expertise and mentorship helped refine Weriguine's burgeoning skills.

Parfums de Luzy was established in 1917 at 5 rue Ybry, Neuilly (Seine) by Progalia SA. In addition to crafting fine perfumes and toilet waters, the company also specialized in cosmetics, with notable products such as Crème de Luzy, a luxurious face cream launched in 1925, and a line of highly regarded face powders and rouges. However, despite its dedication to quality and its heavy investment in advertising and packaging, Parfums de Luzy struggled financially. The company failed to turn a profit and was eventually liquidated in 1925. Following its closure, Claude Fraysse continued his career by creating a series of fragrances for the renowned furriers Weil, including Chinchilla Royal, Hermine, Une Fleur pour Fourrure, and Zibeline in 1927, followed by Antilope in 1928.

Despite the sudden dissolution of his training ground, Weriguine’s talent and technical proficiency did not go unnoticed. In 1926, he was hired by Chanel and Bourjois, two interlinked perfume houses owned by the Wertheimer family. This appointment placed him in the esteemed position of assistant to the legendary Ernest Beaux, the creator of Chanel No. 5. At Chanel and Bourjois, Weriguine honed his craft under Beaux’s guidance, immersing himself in the development of sophisticated fragrances that would contribute to the legacy of both houses. His time at these companies marked the beginning of a prolific career, establishing him as a key figure in 20th-century perfumery.

Weriguine’s influence played a pivotal role in refining the compositions of several iconic Chanel fragrances alongside Ernest Beaux. Among these was Bois des Îles (1926), an aldehydic floral woody fragrance for women. This scent exudes an air of sophistication, opening with a crisp aldehydic top note that lends an airy brightness before unveiling a heart of rare, precious florals. The fragrance’s true character, however, emerges in its base, where the richness of sandalwood dominates, lending a creamy, velvety warmth. It has been reported that the formulation contained an impressive 50% sandalwood oil, emphasizing the perfume’s opulence and depth. This lavish use of natural materials contributed to Bois des Îles’ lasting legacy as a benchmark in woody feminine fragrances, blending classic refinement with an exotic, almost meditative warmth.

Another masterpiece that Weriguine contributed to was Cuir de Russie (1924), an opulent leather scent that captured the elegance and grandeur of the Russian aristocracy. Classified as a leathery tobacco fragrance for women, it possesses a bold, refined character. The scent begins with a dry, fresh top note, immediately setting a tone of understated luxury. The heart introduces a blend of dry woody and floral accords, lending a subtly powdery and sophisticated nuance before melting into a sumptuous base. The leathery, balsamic drydown evokes the scent of fine saddlery, polished wood, and the lingering aroma of a gentleman’s smoking room, reinforcing its aristocratic inspiration. For the American market, the fragrance was aptly renamed Russia Leather, underscoring its origins and the olfactory homage it paid to the supple, perfumed leathers historically tanned with birch bark in imperial Russia.

During his time at Bourjois, Weriguine was credited with the creation of Mais Oui (1938), a refined floral fragrance that became a classic of its era. His collaboration with Beaux resulted in the development of several iconic fragrances, including Bourjois' Soir de Paris (1928), a rich floral-aldehydic scent with a deep blue bottle that became immensely popular worldwide that became well-known in the United States as Evening in Paris. 

Weriguine’s career was interrupted by the onset of World War II. As France fell under Nazi occupation, he was forcibly conscripted into the Service du Travail Obligatoire (STO), a mandatory labor program that sent French citizens and residents to work in German factories. He was sent to a chemical plant in Munich, where he was required to contribute to the German war effort under harsh conditions. Following the liberation of France, Weriguine returned to his previous position at Chanel and Bourjois, resuming his work in perfume creation.

In 1954, he became the assistant to Henri Robert, a perfumer of great talent who would later create Chanel No. 19. Weriguine worked alongside him until 1962, when he was abruptly dismissed from both Chanel and Bourjois. Unwilling to accept this dismissal without a fight, he pursued legal action against the companies and successfully won damages. After parting ways with Chanel and Bourjois, he continued his career at Rhône-Poulenc, a major French chemical and pharmaceutical company, where he applied his expertise in fragrance chemistry.

In 1965, Weriguine published his memoirs, Souvenirs et Parfums, offering an intimate glimpse into his life, from his aristocratic Russian roots to his experiences in the perfume industry. He retired in 1977 but remained deeply involved in the world of perfumery, serving as vice president of the French Society of Perfumers, a professional organization dedicated to advancing the art and science of fragrance creation.

His legacy endures through his contributions to some of the most renowned fragrances of the 20th century. Several of his most significant works are preserved in their original formulations at the Osmothèque, a prestigious perfume conservatory in Versailles that safeguards historic perfumes for study and appreciation. Through this institution, Weriguine’s artistry continues to be studied by future generations, ensuring that his influence on the world of fragrance is never forgotten.

Contributions at Bourjois:

Weriguine's tenure at Bourjois saw the creation and reformulation of numerous fragrances, each reflecting a unique artistic vision and olfactory narrative. Among these was Ashes of Carnations, originally introduced in 1913 and later reformulated by Weriguine in 1930. A distinguished member of the "Ashes of..." series, this fragrance was a spicy floral composition that highlighted the bold and clove-like facets of carnations, a scent profile that was both timeless and evocative.

Another perfume that received Weriguine’s touch was Para Ti, first launched in 1917. Its name, translating to "For You" in Spanish, indicated its special dedication to Bourjois' Argentine clientele. Reformulated in 1930, this fragrance was celebrated for its delicate yet persistent aroma, embodying an exquisite softness that lingered on the skin. That same year, Weriguine introduced Soir de Paris (Evening in Paris), an aldehydic floral fragrance that would go on to become one of Bourjois’ most iconic scents. It opened with a cool, green aldehydic floral accord, transitioning into a heart of sweet and spicy florals before settling into a warm, powdery base—an elegant composition that captured the romance of Parisian nights.

In 1931, Printemps de Paris (Springtime in Paris) was launched as a daytime counterpart to Soir de Paris. This light floral fragrance evoked the freshness and vitality of spring in the city, with delicate floral notes designed to capture the essence of new beginnings. The following year, Flamme debuted, a name conjuring images of glowing embers and passionate intensity. Classified as a fresh floral oriental, it was distinguished by its dominant geranium note, lending it a "heady" character that exuded warmth and allure.

The year 1934 brought two significant releases—Amok and Chicote. Amok was a fragrance infused with the mystique of the Orient, created primarily for the Central and South American markets. Meanwhile, Chicote was marketed as "the modern man's perfume," its name associated with Pedro Chicote Serrano, the famous Spanish bartender and mixologist. This fragrance was designed to complement the refined tastes of gentlemen, embracing a sophisticated and masculine olfactory profile.

In 1936, Bourjois introduced Kobako, a fragrance with a name derived from the Japanese word for "scented box" or "perfume box." This leathery floral chypre fragrance carried a sense of exoticism, with a complexity that balanced floral, woody, and mossy notes. Two years later, in 1938, Mais Oui was launched. French for "But Yes," it was a floral aldehydic perfume that bore similarities to Chanel No. 5 but distinguished itself with a heavier, woodier composition. It featured Synarome's Animalis base, adding an animalic depth that gave it an even more sensual presence.

As the world edged closer to war, Courage (1939) emerged with a name that resonated deeply during a time of increasing global uncertainty. This spicy floral fragrance featured a prominent carnation note, embodying resilience and audacity. In 1943, Folies Bergère debuted as a green fruity floral oriental, its scent warmed by patchouli and sandalwood, a reflection of the glamour and vibrancy of the famous Parisian cabaret.

In the post-war years, Bourjois continued to introduce new scents under Weriguine’s guidance. Endearing (1946) was a leathery floral semi-oriental fragrance with aldehydes, jasmine, oakmoss, vetiver, and exotic balms. Its rich and peppery aroma was later rebranded as Ramage in 1949 for export markets to circumvent trademark issues. The name Ramage, meaning "birdsong" or "foliage" in French, lent the fragrance a poetic and natural connotation. That same year, Beau Belle ("Beautiful Beauty") was introduced as a fruity chypre with sharp citrus and aldehydes, a bittersweet peach facet, and a green mossy base.

The early 1950s brought a flurry of releases, including Fantasio (1950), On the Wind (1950), Roman Holiday (1951), and French Lace (1951). On the Wind was part of a summer trio alongside Frosty Mist and Spice 'N Ice, offering a gentle wildflower scent meant for warm weather wear. Roman Holiday captured the allure of the Eternal City with its spicy floral composition, while French Lace embodied luxury and refinement as a powdery aldehydic floral with resinous, animalic undertones.

In 1953, Glamour was introduced during a period of post-war elegance and renewed sophistication. This aldehydic floral chypre began with fresh green and fruity notes, developed into a green floral heart, and rested on a mossy, balsamic, and woody chypre base. The addition of a bright orange nuance added a lively contrast to the fragrance’s warm, Provencal-inspired character.

The final years of Weriguine’s time at Bourjois saw the launch of Christmas in July (1954) and Frosty Mist (1955). The latter, part of the same summer trio as On the Wind, was designed to provide a crisp, cooling sensation with its tangy citrus floral blend and pronounced lilac note. This fragrance, like many in Weriguine’s portfolio, showcased his ability to craft olfactory experiences that were as evocative as they were innovative.

Each of these fragrances, whether reimagined classics or entirely new creations, demonstrated Weriguine’s remarkable talent and his profound impact on Bourjois’ legacy. His work not only shaped the olfactory direction of the brand but also cemented its place in fragrance history.

Chyprodor by Bourjois c1910

Chyprodor by Bourjois was introduced in 1910, a period when chypre fragrances were well established but evolving with modern advancements in perfumery. The name "Chyprodor" is a fusion of chypre, referring to the classic fragrance family inspired by the aromatic landscape of the Mediterranean island of Cyprus, and dor, meaning "gold" in French. Pronounced "Shee-pro-door", the name suggests a luxurious and refined interpretation of the chypre style, hinting at warmth, richness, and an opulent golden aura. It evokes images of sunlit landscapes, gilded finery, and a sophisticated woman who carries an air of mystery and elegance.

The choice to launch Chyprodor in 1910 reflects Bourjois’ desire to modernize a time-honored fragrance genre while appealing to the changing tastes of early 20th-century women. Chypre fragrances had been popular for centuries, with their distinctive blend of citrus, florals, and mossy, woody undertones. By the late 19th century, chypres were found in perfumery manuals and pharmacopeias, often incorporating blends of natural extracts such as oakmoss, cistus labdanum, patchouli, and floral absolutes. However, as perfumery evolved with the advent of synthetic molecules, Chyprodor likely introduced a more contemporary edge, incorporating newly available ingredients like linalool (which added freshness), vanillin (for warmth), and ambreine or coumarin (enhancing depth and sensuality).

The year 1910 fell within the final years of the Belle Époque (1871–1914), a time of prosperity, artistic innovation, and societal change. Paris was the undisputed capital of fashion and fragrance, with haute couture houses setting trends that defined elegance. Women’s fashion was transitioning from the elaborate S-curve silhouette to more streamlined, fluid designs, foreshadowing the dramatic shift that would come with World War I. The popularity of the Orientalist aesthetic, inspired by Ballets Russes and designers like Paul Poiret, introduced exotic motifs, luxurious fabrics, and a fascination with opulence. Fragrances, too, followed this trend, with heavier, more sensual compositions gaining favor alongside traditional floral scents.

Roman Holiday by Bourjois c1951

Roman Holiday by Bourjois, launched in 1951, encapsulates a sense of romance, sophistication, and escapism. The name itself draws from the allure of ancient Rome’s history and the enchantment of the Eternal City as a glamorous destination. It evokes visions of sunlit cobblestone streets, crumbling ruins steeped in grandeur, and the timeless elegance of Roman architecture. The phrase “Roman Holiday” also resonates with the mid-century cultural zeitgeist, as it became synonymous with adventure, freedom, and cinematic romance, particularly due to the iconic 1953 film starring Audrey Hepburn. For women in the 1950s, the name would conjure dreams of adventure and sophisticated leisure, appealing to a desire for refined escapism in their everyday lives.

The name likely speaks to a cultural fascination with travel and a longing for the Old World charm of Europe, especially in the post-war era when transatlantic travel was becoming more accessible. In 1951, Rome symbolized both historical depth and modern glamour, embodying a blend of tradition and vitality that resonated with the growing global interest in European culture. The name promised an evocative journey, inviting wearers to imagine themselves strolling through the Piazza Navona or basking in the Italian sun with an air of sophistication.

The term evokes an atmosphere of passion, mystery, and elegance. It paints a picture of Roman ruins bathed in golden light, fragrant gardens in full bloom, and the tantalizing scent of spices carried on the Mediterranean breeze. Emotionally, it invites feelings of longing, indulgence, and timeless romance, offering a sense of escape from the mundane. The perfume’s classification as a spicy floral fits perfectly with this narrative, marrying the warmth of spices with the lushness of Mediterranean blooms.

Chicote by Bourjois c1934

Chicote by Bourjois, launched in 1934, was marketed as "the modern man's perfume" and was described as a fragrance designed for gentlemen. The name "Chicote" carries with it a strong connection to a figure of high distinction in the world of cocktail culture: Pedro Chicote Serrano, the famed bartender and mixologist of mid-century Spain. 

Chicote is a Spanish word. It primarily refers to a type of whip or lash, typically used for driving or controlling animals. In a broader sense, it can also be used to describe something that is sharp or striking in nature. Chicote is pronounced "shee-koh-teh," with emphasis on the first syllable. The name itself is a nod to Pedro Chicote's iconic status—his bar, Bar Chicote, became the haunt of Spain’s young and affluent clientele, and he became a household name in the world of bartending. As a self-promoter, Chicote was known not just for his impeccable bartending skills but also for his flair in creating a brand, even adding a museum to his bar and founding the Asociación de Barmans Españoles (ABE) in 1964. Naming the fragrance after him was a clever marketing move, aimed at capturing the essence of modern sophistication, class, and masculinity that Chicote personified.

The word "Chicote," though immediately associated with a man of refinement and the world of cocktails, carries a dynamic energy, evoking images of a well-dressed gentleman confidently entering a bustling bar, the clinking of glasses and the refined scent of cologne accompanying him. It speaks of elegance, modernity, and the allure of nightlife—an era of men who took pride in their appearance and style, and who were keen to make an impression in the world of social gatherings. Chicote suggests a masculine yet delicate fragrance that combines strength with a subtle, refined sensuality, much like the bartenders of the time who exuded charisma and sophistication while preparing cocktails with expert precision.

 

Frosty Mist by Bourjois c1955

Frosty Mist by Bourjois, launched in 1955, was part of a trio of summer colognes—On the Wind, Frosty Mist, and Spice 'N Ice—that aimed to evoke a sense of lightness and refreshment during the warmest months of the year. The name Frosty Mist was carefully chosen to convey a feeling of cool respite, suggesting the crisp, tingling sensation of a misty breeze on sun-warmed skin. It brought to mind imagery of early morning dew, frost-kissed leaves, or the invigorating chill of a seaside mist carried by a summer wind. The name alone promised relief from the summer heat, an enticing concept for women looking to maintain their elegance and freshness despite the season’s sweltering temperatures.

The phrase Frosty Mist evokes not just imagery, but emotions—cool serenity, lightness, and rejuvenation. It paints a picture of delicate, icy droplets suspended in the air, sparkling in the sunlight and offering a fleeting touch of coolness. Women hearing this name in the 1950s would have imagined an ethereal, refreshing escape, a perfume that could momentarily transport them to a tranquil garden enveloped in a soft, cooling haze. The emotions tied to this imagery were likely feelings of renewal, calm, and poise—qualities that resonated deeply with the mid-century ideals of feminine grace and understated beauty.

The mid-1950s marked a significant moment in history. It was a time of post-war optimism, when the economy was booming, consumer culture was thriving, and modernity was reshaping daily life. Women of the era were increasingly balancing traditional domestic roles with a newfound independence and participation in the workforce. Fashion reflected this evolving identity—cinched waists, full skirts, and tailored silhouettes emphasized femininity and structure, while lighter fabrics and pastel tones aligned with the season’s airy sensibility. Trends of the time leaned toward simplicity and elegance, which aligned perfectly with the delicate, refreshing concept of Frosty Mist.

Le Premier Muguet by Bourjois c1912

Launched in 1912, Le Premier Muguet by Bourjois embodies a timeless tribute to the beloved lily of the valley, known as "muguet" in French. The name translates to "The First Lily of the Valley," pronounced luh pree-myay moo-gay. This elegant choice of name reflects both the French reverence for the flower and the emotions tied to its symbolic meaning. For centuries, lilies of the valley have been a cherished emblem of good luck in France, gifted and worn each year on May 1st as corsages and boutonnieres to celebrate the arrival of spring and to wish for prosperity and happiness.

The words "Le Premier Muguet" evoke a delicate, pastoral charm, conjuring images of fresh blooms in dewy undergrowth, verdant forests alive with new growth, and the soft sunlight of an early May morning. This imagery is deeply entwined with feelings of optimism, renewal, and hope—a nod to both the season and the cultural heritage of France. For women of the early 20th century, a perfume called Le Premier Muguet would have been an elegant and sentimental choice, connecting them to the traditions of May Day while capturing the fleeting beauty of springtime in a bottle.

The scent itself is a soliflore, focusing on the purity and delicacy of lily of the valley. This choice was significant during a time when perfumery was undergoing a shift. While earlier fragrances often featured complex "bouquet" compositions, the early 20th century saw the rise of perfumes that celebrated single floral notes. Le Premier Muguet aligned with this trend, yet stood out for its simplicity and authenticity. It distilled the essence of spring into a fresh, subtle fragrance, appealing to women seeking a light, natural, and distinctly feminine scent.

Bourjois in WWII

In 1940, the Nazi Luftwaffe launched a bombing campaign near London, targeting strategic sites such as the Croydon airfield and nearby factories essential to wartime production. Among these was a British factory operated by Bourjois, Inc., a renowned perfume company famous for iconic fragrances like Evening in Paris, Ashes of Roses, Kobako, and Mais Oui. The factory, partially converted for wartime efforts, manufactured shaving soap for the British Army. Rather than producing soap entirely on-site, Bourjois purchased a pre-made soap base, enhanced it with their signature perfuming agents, pressed it into cakes, and packaged it under the Bourjois brand.

Tragedy struck when two German Messerschmitt fighter planes crashed into Croydon's densely populated suburbs during the raid. Six incendiary bombs devastated the Bourjois factory, along with other facilities nearby. Despite the critical nature of these areas, air raid sirens failed to sound until 17 minutes after the first bombs had fallen. This delay proved catastrophic for employees working the night shift, as sixty lives were lost and 180 individuals were injured. The factory was reduced to rubble, and the floral scents of its destroyed perfumes lingered in the air around Croydon for days, a poignant reminder of the attack.

The factory's destruction sparked intrigue for decades, with persistent rumors claiming the remains of one of the German planes had been entombed within the walls of the rebuilt structure. Bourjois, by then owned by Chanel, confirmed the existence of the aircraft remains but refrained from providing public access or photographic evidence, stating that removal of the wreckage could compromise the building's structural integrity. While the company described the embedded plane as an early postal aircraft, the lack of transparency left room for speculation.

The factory was completely rebuilt in 1948, rising from the ashes to continue its legacy of producing beloved perfumes and beauty products. The resilience of Bourjois mirrored the indomitable spirit of the British people during the war, turning a symbol of destruction into one of recovery and renewal.

The photo below shows the rebuilt Bourjois factory (in the center) in 1949, colorized by me.

 

Endearing by Bourjois c1946

Endearing by Bourjois: launched in 1946. Created by perfumer Constantin Mikhailovich “Kot” Weriguine. In 1949, it was renamed "Ramage" for export to other countries to avoid trademark violations.

Evening in Paris Perfume Gift Sets Ad 1940

 

Evening in Paris Gift Sets 1941 Ad

 Evening in Paris Gift Sets 1941 Ad.

1863 Eau de Cologne by Bourjois c1963

 1863 by Bourjois: launched in 1963. 

Evasion by Bourjois c1970

Launched in 1970 but trademarked as early as 1964, Evasion by Bourjois encapsulated a spirit of escapism, liberation, and fresh femininity. The name "Evasion" (pronounced ay-vah-zhon in French) directly translates to "escape" or "evasion" in English, suggesting a break from the mundane, a flight of fancy, or a retreat to a dreamlike world. It evokes images of freedom—perhaps a spontaneous trip to a sun-drenched seaside, a stroll through a serene forest, or even a journey into the inner world of imagination. By choosing this name, Bourjois offered women not just a perfume but a sensory journey, a fragrant passport to serenity and sophistication.

The word Evasion conveys movement, lightness, and an air of mystery. It suggests a longing for escape, whether physical or emotional, and conjures feelings of liberation and self-discovery. This imagery resonates with vibrant green landscapes, airy skies, or a peaceful retreat far from life's pressures. The name also carries an air of modernity and independence, a perfect match for the ethos of women embracing new roles and opportunities during the late 1960s and early 1970s.

The early 1970s marked the end of the Swinging Sixties and the beginning of a new cultural chapter. Women’s liberation movements were gaining traction, and society was shifting toward greater individual freedom and self-expression. Fashion trends reflected these changes, with the structured elegance of the 1960s giving way to more relaxed, bohemian styles. Maxi dresses, bell-bottoms, and natural fabrics became staples, alongside bold, experimental designs that mirrored societal shifts. Perfumes, too, were evolving to reflect this duality of free-spirited modernity and timeless femininity.

On the Wind by Bourjois c1950

Originally launched in 1950. In 1956, On the Wind by Bourjois was part of a trio of summer colognes, including Frosty Mist and Spice 'N Ice. The name On the Wind conjures a poetic sense of freedom, lightness, and motion. It evokes images of a soft summer breeze carrying the fresh scent of flowers and distant shores. The phrase suggests a fleeting yet invigorating experience, something intangible yet deeply refreshing—qualities perfectly suited for a summer cologne. It embodies the idea of escaping the heat, embracing nature, and finding respite in something ethereal and delicate.

The mid-1950s, when On the Wind was introduced, marked the height of postwar optimism and prosperity. Known as the era of the "New Look" in fashion, popularized by Christian Dior in 1947, women were embracing feminine silhouettes characterized by cinched waists, voluminous skirts, and soft, elegant fabrics. Trends of the time reflected a return to luxury, leisure, and glamour after years of austerity during World War II. There was a palpable sense of hope, exploration, and modernity, with society leaning into travel, outdoor leisure, and the burgeoning middle-class lifestyle. Summer vacations, picnics, and weekends at the beach became integral to postwar life, providing the perfect context for lightweight and refreshing seasonal fragrances like On the Wind.

French Lace by Bourjois c1951

French Lace by Bourjois, launched in 1951, evokes an air of timeless elegance, femininity, and delicate sophistication. The name "French Lace" immediately conjures images of refinement, luxury, and intricate craftsmanship, much like the lace itself—one of France’s most celebrated textile arts. French lace has long been synonymous with beauty and prestige, originating from renowned lace-making regions such as Chantilly, Alençon, Normandy, Valenciennes, and Calais. These styles, known for their exquisite patterns, airy delicacy, and painstaking handwork, were prized by royalty and haute couture designers alike. The choice of this name for a fragrance suggests a scent that is delicate yet sensual, refined yet captivating, much like the fabric it references.

The early 1950s was a period of post-war renewal, known as the era of "The New Look," a term coined by Christian Dior in 1947. Fashion had moved away from the austerity of the war years, embracing ultra-feminine silhouettes with nipped-in waists, voluminous skirts, and luxurious fabrics, including lace. Women were returning to elegance and sophistication, and lace became a symbol of grace, romance, and refinement. A perfume named "French Lace" would have resonated deeply with women of this time, conjuring images of delicate lingerie, couture gowns, and Parisian glamour. It was a name that suggested not just beauty, but a certain intimacy—lace being a fabric that adorned a woman's most treasured garments, from wedding veils to fine lingerie.

Glamour by Bourjois c1953

Launched in 1953, Glamour by Bourjois arrived at the height of post-war optimism and a burgeoning cultural fascination with sophistication and style. The early 1950s were marked by a return to elegance after the austerity of World War II. Christian Dior had revolutionized fashion with his "New Look" in 1947, emphasizing femininity with cinched waists, full skirts, and luxurious fabrics. Hollywood icons like Audrey Hepburn, Grace Kelly, and Marilyn Monroe became global symbols of beauty, charm, and poise. Against this backdrop, Bourjois chose the name "Glamour" to evoke a sense of enchantment and allure that perfectly complemented the era’s cultural ideals.

The word "Glamour" originates from Old Scots, where it referred to a magical or spellbinding quality. By the mid-20th century, it had evolved to signify a captivating charm, elegance, or beauty, often associated with celebrities and the allure of high society. Pronounced “GLAM-er", the word conjures visions of shimmering gowns, glittering jewels, and the magnetic confidence of a woman who commands attention without effort. Women in the 1950s would have been drawn to a perfume named Glamour, imagining it as the invisible accessory that could elevate their presence, much like a favorite lipstick or a well-tailored dress.

In scent, Glamour captures this sense of sophistication and allure through its meticulous composition. The aldehydic opening offers a sparkling freshness, akin to sunlight dancing on crystal. Green and fruity top notes introduce a lively vibrancy, while the green floral heart provides a natural elegance, evoking images of lush gardens and fresh bouquets. These elements flow seamlessly into a mossy, balsamic, and woody chypre base, which grounds the fragrance with depth and warmth. This final accord evokes the sun-soaked hills of Provence, a place of understated beauty and timeless charm.